Телеграммы разных лиц к А. Г. Достоевской с соболезнованиями в связи со смертью Ф. М. Достоевского (из рукописного фонда Государственного музея истории российской литературы им. В. И. Даля)

Author(s): Pavel E. Fokin / Language(s): Russian / Issue: 2/2018

The article presents the total of the telegrams of condolences on the death of F. M. Dostoevsky, addressed to Anna Dostoevskaya. Twelve telegrams received by the widow in the period from January 27 until February 20, 1881 (by the Old Style) are stuck into the notebook kept in the manuscript collection of Vladimir Dahl Russian State Literary Museum (State Literary Museum). The funerals of F. M. Dostoevsky became an important public event. The telegrams convey spiritual and emotional state the Russian society was going through due to the death of the writer. Their geographical coverage is enormous: Moscow, Tver, Kronstadt, Kazan, Saratov, Kharkov, Odessa, Staraya Russa, Rome, Belgrade. Among the addressers there were people of different ages and social status: Grand Dukes Sergei and Pavel, a legendary general M. G. Chernyaev, a teacher from Kharkov Kh. D. Alchevskaya, young students, professors, literary figures and provincial intelligentsia (Odessa Slavophile Society, Kazan Society of agricultural colonies and handicrafts shelters, Old Russian Urban Society etc.). Many telegrams mention the participation of the addressers in the funeral and prayer services and other commemorative events on occasion of Dostoevsky’s death. The commentaries contain a brief profile of the telegram senders and other people mentioned in the texts.

Тема города-героя Севастополя в творчестве советской музыкальной интеллигенции

Author(s): Igor Vyacheslavovich Sibiryakov / Language(s): Russian / Issue: 4/2015

The article shows the process of the image formation of Sevastopol in Soviet authors pieces of music. Investigated is the role of representatives of the Soviet musical intelligentsia in preservation of cultural and historical memory of society. Distinguished is the variety of reasons, explaining gradual transformation of the Sevastopol image in the Soviet musical culture.

ТЕОРЕТИЧЕСКОЕ ОСМЫСЛЕНИЕ НАСЛЕДИЯ В СОВРЕМЕННОЙ ЗАРУБЕЖНОЙ ИСТОРИОГРАФИИ: «АВТОРИЗОВАННЫЙ ДИСКУРС НАСЛЕДИЯ» ЛОРАДЖИН СМИТ

Author(s): Vitaliy Gennadevich Ananiev / Language(s): Russian / Issue: 3/2014

The article deals with the concept of the Authorized Heritage Discourse proposed by the contemporary Australian researcher Laurajane Smith. She believes that “there is no such thing as heritage” and “all heritage is intangible”. Heritage is not a certain thing or place, but values and meanings, which we construct around it. Smith’s major works related to this issue are analyzed. Special attention is paid to the methodology of the critical discourse analysis. The concept is studied in the general cultural context of the turn of the 21st century.

Тестамент Симона Миха Мекше

Author(s): Marica Malović-Đukić / Language(s): Serbian / Issue: 27/2006

ТИПОЛОГІЯ КУРАТОРСТВА: ІСТОРИЧНІ ПРОТОТИПИ ТА СУЧАСНА ТЕРМІНОЛОГІЯ

Author(s): Ielyzaveta German / Language(s): Ukrainian / Issue: 3/2014

Like any other artistic profession curating hasn’t been a homogeneous practice since its formation in late 1960’s. In different times curatorial style was influenced by the new socio-economical circumstances of the art system as well as the changing nature of contemporary art in general. As far as the curatorial impact becomes more visible at the Ukrainian art scene, the local art historical field demands an adequate critical apparatus of curatorship based on international experience and recent theoretical elaborations. The selected papers of foreign authors on curatorial theory and history can be divided into several main directions according to chosen subject of research: the evolution of art exhibition (B. Altschuler, R. Greenberg, W. Grasskamp, B. O’Doherty, D. Richter), museum projects (T. Benett, L. Alloway. K. Schubert), emerging curatorial strategies (K. Bokhorov, B. von Bismarck, B. Groys, C. O’Doherty, P. O’Neill). Important professional insights can also be found in texts and statements of some prominent curators (H. Szeemann, S. Sigelaub, V. Miziano, L. Lippard, M. Lind, H.-U.Obrist). The tendencies of Ukrainian curating are slightly touched in some writings of O. Solovjov, K. Botanova and O. Ostrovska-Lyuta.Despite rather diverse coverage of historical panorama of curating, there is an obvious lack of its precise classification and argumentative definitions. The goal of this paper is to present the range of most important curatorial modes in the second half of 1960-2010’s.The term "curator" comes from English language and has Latin roots. In times of Roman Empire curator was a title given to officials responsible for food provision and various civil affairs (D. Levi Strauss). During the Enlightment period curators were involved in scientific experiments. In times of Luis XIV, who initiated first group exhibitions ("salons") of Royal academy members, curator acquires its artistic sense and becomes responsible for hanging paintings (K. Bokhorov). In late XIX – early XX century art exhibitions were usually "curated" by art-critics (i.e. Felix Feneon, Roger Fry) or by artists themselves (Impressionists groups). The tradition of artistic self-organization remained vital in avant-garde circles in 1900-1910 (exhibitions of Die Bruecke and Der Blaue Reiter groups, Italian Futurists group, "The last futurist exhibition. 0.10" etc.) (B. Altshuler). In 1920-30’s artists (i.e. Friedrich Kiesler, Herbert Bayer) were often engaged as authors of exhibition design for large-scale exhibitions within World trade fairs (M. A. Staniszewski).The modern meaning of the curatorial profession became legitimate in 1960’s and was associated mostly with museum keeper until 1990’s (R. Fleck). However, in 1960–70’s the curatorship also emerged as an independent activity beyond institutions. In fact, since 1960’s curatorship was divided into 2 main directions: museum or institutional curator and independent curator.The responsibilities of museum curator are focused on several main issues: acquiring new works for collection, researching and exhibiting its parts (L. Alloway); improving museum’s position and collection by fundraising and political communication, satisfying public demands for education and entertainment (K. Schubert).Suggested division to museum and independent directions is fairly conditional, as practically many curators work in both directions. One of the first independent curators Harald Szeemamn started his autonomous activity after he left the director’s position in Kunsthalle Bergen. Szeeman himself defined his occupation as exhibition-maker (Ausstellungmacher in German) and since 1969 organised all his projects under the banner of self-initiated one-person-institution The Agency for Spiritual Migrant Work (D. Levi Strauss, H.-U. Obrist). Another important independent curator of 1960’s generation, Seth Sigelaub, described the role of the curators as those who have to "demystify" the rigid art institutions and thus to make the mechanisms of art production, display and distribution visible (P. O’Neill). Both of them, as well as most of their contemporaries, developed their exhibition strategies according to the recent artistic ideas (like conceptualism, land art etc.).During the 1990’s another type of curating has emerged. The biennial curating of large-scale international exhibitions is aimed at combining previously unrelated local art trends in order to rethink existing geopolitical configuration of the art world, as it was done in Jean-Hubert Martin’s (1989) and Okwui Enwezor’s (2002) projects (P. O’Neill, F. and V. Martini).Among the recent innovative modes we distinguish performative and post-representational approaches. Performative curating deals with an exhibition as an autonomous "living" medium of its own that has no final shape and may be transformed while it is on stage. This type of curatorial thinking is influenced by "relational aesthetics" artistic strategies dealing with time-based events rather then executed objects (A. Farquarson). Post-representational curating denies the format of a static display at all and prefers discursive events with a strong educational elements and active audience engagement (N. Sternfeld, L. Ziaja, I. Rogoff).The abovementioned ideas can be summarized as following: 1) the curatorial practice since its establishing in 1960’s has been always closely linked to current artistic innovations; 2) the curator as an important figure of artistic scene has become a new type of postmodernist author with its own creative and intellectual impact.

Трагови средњевековне материјалне културе са локалитета Градина на Јелици

Author(s): Dejan Bulić / Language(s): Serbian / Issue: 50/2003

The remnants of the multilayer fort at the Gradina site on Jelica Mountain have been attracting researchers since the 19th century. The site was visited in 1865 by Janko Safarik within the framework of research of antiquities in the Rudnik and Cacak districts. This was followed by another visit of the great researcher Felix Kanitz, especially valuable due to the sketch that he had left us with. Gradina was sketched by a team of the Cacak National Museum and the first archaeological excavations started in 1984. Gradina is located on one of the ridges of the Jelica Massif in the area of the Grab village at a height of 846 m. Being a few kilometers away of the present urban center of Cacak, it offers a splendid view over the Western Morava River on the north, and the whole Dragacevo region to the south-west. A relatively simple approach to the town was from the west, with an easy slope towards the present CacakGoracici road. From the other sides, the fort is surrounded by steep slopes and bluffs. The Early Byzantine road has been continuously used as confirmed by the find of a gate on the present forest road. The paper deals with medieval remnants, primarily ceramic material, on the basis of which their secondary utilization during the early Middle Ages has been observed at several Early Byzantine sites. These are sites number I, II, III, IV, V and VII. On the basis of this material too the rampart reducing the original fort to the zone of Upper Town only has been dated as a medieval one. The finds of the ceramic material in basilicas A, B and E confirm the secondary use of these sites most probably for housing purposes, for there is no proof that the church was used for cult practicing. The chronological span of the site has been determined according to the ceramic material. Pots and earthenware covers are mostly represented, while earthenware dishes for baking bread and bottles are rather rare. The way in which they were made is different too, from kneading on the slow wheel to their make on the fast wheel, although this does not determine the chronology, for we have seen the same shops making dishes both on the slow and on the fast wheel. The dating of dishes was made according to the existing analogies. However, we have to note that the medieval pottery from the neighboring sites differs from the Gradina pottery both by shape and by make. This confirms that the dating of the medieval phase of neighboring sites represents a terminus ante quem for our material, being the beginning of the 10th century. We could conclude that in the stratigraphy of the Jelica Mountain one can observe clear traces of the town destruction by fire, provoked probably by the devastating campaign of either the Avarians or the Slavs. When had it happened exactly we do not know – in the eighties of the 6th century or at the beginning of the 7th century? However, Jelica has a specific feature throwing a different light to the period immediately before the Slav conquests: it is the continuation of life after a short period , until the second half of the 9th century or the beginning of the 10th one. It is possible that the reasons for abandoning Gradina and moving to new sites in the vicinity of Cacak were in the expansion of the Serbian territory in the thirties. Therefore I am of the opinion that the remnants of the material culture from Jelca could be ascribed to the Serbs, linking the ceramic material which helped us to establish the chronological framework of the site with the territory that the Serbs occupied upon settling, and with all historical data at our disposal. One should not exclude the presence of some other small Slavic groups, for some material characteristic for areas under the Avarian domination has been found too. Besides, one should expect similar finds on the northern borders of the Serbian territory of that time, where the Serbs have fulfilled their duties as federates of the Empire.

Тракийското наследство в РИМ – Сливен: за семантиката и функциите на „женските предмети” в царското погребение

Author(s): Nikolay Sirakov / Language(s): Bulgarian / Issue: 3/2019

The article comments the semantics and the functions of Thracian metal engravings in the collection of the Regional History Museum – Sliven, acquired predominantly throughout the study of some rich graves in the region of Sliven. Marriage is a form of transition from a particular social status to a different one. Through the marriage the hero joins the goddess and turns into a god-man – the highest position in society which is available only for the king. From ideological point of view wedding is a form of choosing of the ruler by the god. The ritual burial of female objects might be interpreted as a sacred symbolic signifier of a marriage between the diseased ruler and the Great Goddess. Its meaning implies the new birth of the ruler after his death. The elements of the opposition birth-death in the mythological consciousness are equal as elements of the general structure of the rites of birth, marriage, death. This is necessary in providing the main eschatological reason for the existence of the tomb as a cult building – to secure a new birth of the deceased ruler in the outer world.

ТРАНСФОРМАЦІЇ МЕМОРІАЛЬНОГО ПРОСТОРУ І МЕМОРІАЛЬНИХ ПРАКТИК В УКРАЇНІ ПЕРІОДУ НЕЗАЛЕЖНОСТІ

Author(s): Konstantin Kisliuk / Language(s): Ukrainian / Issue: 2/2016

The purpose of the study is to conceptualize a new vision of cultural memory of Ukraine. The following special scientific research methods are applied: memorial cartography, which enables to create a kind of map of «places of memory» for a particular culture (in our case – museums); memorial political analysis helps to study the full range of official and non-official, national and regional policies of memory. Scientific novelty lies in the further development of the author’s structural and functional model of the memorial landscape of Ukrainian culture as a complex, multi-layered and diverse formation and commemorative practices of its functioning on the basis of large transformations in 2013– 2016. Conclusions. The study shows that the transition from mechanical combination of different chronological layers of memory to in a certain way structured system is completed. A complex of places of memory, including memorials to social and political and cultural figures and numerous monuments dedicated to Cossacks is becoming a basis of the cultural memory of Ukraine. This process may be accelerated by the well-directed state memorial practicies, the quantity,regularity and scale of which is constantly growing starting from the 2000th.

Трета научна конференция „Дебати в музеологията“ – „Музеят отвъд нацията?“ (24–25 септември 2015 г.)

Author(s): Eli Todorova / Language(s): Bulgarian / Issue: 1/2016

Тридесет осма глава књиге Владана Ђорђевића, Председник Општине београдске

Author(s): Aleksandar P. Rastović / Language(s): Serbian / Issue: 24/2005

У рукописном одељењу Матице српске у Новом Саду под сигнатуром (РОМС, М. 14045/II) похрањен је оригинални рукопис четврте књиге доктора Владана Ђорђевића, Успомене. Културне скице из друге половине XIX века. У Грађанском санитету, који садржи триста седамдесет једну страну текста. Као што је познато, до сада је у целини објављена само прва књига успомена, и то још давне 1927. године, у издању књижаре "Славија" из Новог Сада, док се књиге, од друге до пете и даље налазе у рукопису.

Туристичка атрактивност археолошког локалитета Феликс Ромулијана

Author(s): Milovan Vuković,Danijela Voza / Language(s): Serbian / Issue: 3/2012

Archaeological site Felix Romuliana is located in Eastern Serbia, on the 10th kilometer of Boljevac - Zajecar road. It represents the remains of the Roman emperor Gaius Valerius Maximian Gallery’s palace. The value and importance of this unique monument, which dates from the late Roman period, are shown by the fact that in 2007. it was included in the UNESCO list of world cultural heritage. This paper introduces touristic - geographic location of Felix Romuliana, its artistic value, history and progress of archeological research as well as protection measures and site management system. The second part consist the tourist valorization results, made by Hilari du Cros model. Aim of the article is to determine the manner in which it is possible to make a presentation of cultural and historic values of the potential tourists (both domestic and foreign) and to point out the weaknesses and the opportunities in the tourist valorization. Finally, it can be concluded that the strategy for tourism development in this area should be based on the promotion of cultural tourism, which would be the holder of the Gamzigrad archeological complex.

Туристичка валоризација архитектонског културног наслеђа Шапца

Author(s): Ljiljana Grčić / Language(s): English,Serbian / Issue: 1/2009

Sabac is an important centre in the cultural geography of Serbia. A great number of architectural buildings that are listed in cultural-historic heritage of national interest were built in the city. The goal of this work is to note and highlight the values of architectural cultural heritage of Sabac, which can be valorized for the purpose of tourism. The restoration, protection and inclusion of architectural values in the tourist offer of Sabac, combined with the other types of city tourism such as the event and cultural tourism, contribute to the affirmation of this city as a tourist centre of West Serbia.

Туристичка валоризација римског царског града Феликс Ромулијана

Author(s): Nemanja Tomić,Anđelija Ivkov-Džigurski,Dejan Berić / Language(s): Serbian / Issue: 3/2012

The tourism industry is a great potential for the development of Serbia. The main characteristics of the existing and potential tourist offer of Serbia are interesting and diverse natural resources and cultural and historical heritage. Felix Romuliana, established palace of the Roman emperor Galerius, is located in the valley of the Black Timok, near Zaječar and the village of Gamzigrad in eastern Serbia. The palace was built in the late third and early fourth century, as a testamentary construction. This is where the Roman emperor was buried and included among the gods. It is the best preserved example of Roman palatial architecture which in 2007 was added to the List of World Heritage of UNESCO. One of the key tasks of this paper is to point out ways of promoting and popularizing this tourism potential that can be used as a resource for the development of cultural tourism and as such strengthen the position of Serbia''s tourist offer in Europe. The aim of this paper is contained in the presentation of the site Felix Romuliana and extraction of the most important attractiveness through valorization, which on the bases of historical and cultural significance may be activated for tourism purposes. [Projekat Ministarstva nauke Republike Srbije, br. 176020]

Туристички потенцијали Рашке регије и развој сеоског туризма

Author(s): Rajko Golić,Mila Pavlović / Language(s): Serbian / Issue: 3/2011

In order to find solutions for stopping negative economic processes in the Raška region, as well as land reclamation and depopulation of villages, one of the main activities is adequate restructuration of the economy, according to available resources. In this paper we analyze a place of tourism in the Raška region, as an activity to which is not given appropriate developmental role in the previous development policies, as opposed to diverse and attractive natural and anthropogenic values. In the paper we identify the most significant tourism potentials of the Raška region and their evaluation score. Special attention is given to rural tourism as one of the activities that can have a greater role in future plans for demographic and economic revitalization of this area. We analyze the current state of rural tourism in the Raška region, and indicate main limiting factors that prevent rapid development of this, in many ways, primary form of tourism.

ТУРИСТИЧНА ДІЯЛЬНІСТЬ СКАНСЕНІВ У СИСТЕМІ АКТУАЛІЗАЦІЇ РЕСУРСІВ НЕМАТЕРІАЛЬНОЇ КУЛЬТУРНОЇ СПАДЩИНИ

Author(s): Stepan Ivanovich Dychkovskyy / Language(s): Ukrainian / Issue: 1/2020

The purpose of the article consists of the study of the activity of skansen in the intangible cultural heritage system. The methodology is the application of historical, bibliographic, and analytical methods. The scientific novelty of the work is to justify the appropriateness and application of the new concept of tourism activity of scans in the system of intangible cultural heritage. Conclusions. Features of the development of tourism in a post-industrial society influenced the conceptual approaches to the museum topes, which first broadcast chronological meaning, but with the proliferation of skansen museums was beyond the phenomenological limits of time and space. The proliferation of scansions as interactive open-air exhibits became a reflection of changes in the cultural and socio-economic life of modern society. The trends in the development of active consumerism in the social and economic spheres, globalization processes, the growth of cultural and creative industries have identified new areas of activity for museums - skansens, which transformed from museums that showed ethnographic collections in the space of the formation of a new cultural being.

Український костюм як форма репрезентації літературного образу в творах Панаса Мирного

Author(s): Svetlana Dolesko / Language(s): Ukrainian / Issue: 2/2017

The purpose of the publication is to analyze the forms of representation of the Ukrainian costume in the work of Panas Mirny. The methodology of work includes general scientific principles of systematization and generalization of the problem of study. The purpose and tasks of the work led to the application of such research methods: the axiological approach, its application, due to the need to clarify the role and significance of the Ukrainian costume in literary works, as well as to study the doctrine of the art of figurativeness of the Ukrainian costume, its expressiveness in the traditional-domestic culture of Ukrainians. The cultural-historical method allows us to reveal the specifics of the epoch of the late 19th and early 20th centuries through literary images and events. The application of the leakproof method allowed the interpretation of literary images through the prism of the Ukrainian costume. The scientific novelty of the work is to study the representation of the artistic image of the Ukrainian costume through the lives and lives of Ukrainians, which are covered in the works of Ukrainian writers, Panas Mirny in particular. Conclusion. The foregoing has allowed us to state that the works of Panas Mirny play an important role in representing the Ukrainian costume. The literary heroes of Panas Mirny are unique bearers of the expression of the material cultural heritage of Ukraine, the study of which will be useful for the practical implementation of contemporary cultural and artistic development of Ukrainian culture.

Улога косовског мита у обликовању српског националног идентитета

Author(s): Jovan R. Bazić / Language(s): Serbian / Issue: 4/2012

This paper examines the role of Kosovo myth in shaping Serbian national identity through a very complex socio-historical processes, as well as his reflections on modern Serbian politics. The emergence of the Kosovo myth is related to the narratives of the battle of Kosovo in the 1389th founded in the church literature and the Serbian poems of Kosovo epic cycle, and then in continuing storytelling about this event which belong to different discourses. The Kosovo myth is the most important Serbian myth that forms the basis of Serbian national identity. It was an important element of national feelings and had a very important role in the cultural and political homogenization of Serbs, especially during the wars of liberation from the Ottoman Empire. Its peak, the Kosovo myth reached during the Balkan Wars (1912-1913), when the liberation of Kosovo and other Serbian regions, was interpreted as the fulfillment of the covenant of ancestors and revenge to Turks for the defeat from the 1389th year. The myth was later not so emphasised except it two more powerful waves. First, during the First World War when it was instrumentalized in the function of unification of Serbs, Croats and Slovenes and was treated as a common cultural heritage that unites these nations; and then, at the end of the twentieth century, during the escalation of the crisis in Kosovo and Metohija and the celebration of the 600-year Battle of Kosovo (1989).

Упис Славе на Унескову Репрезентативну листу нематеријалног културног наслеђа човечанства

Author(s): Danijela Filipović / Language(s): Serbian / Issue: 1/2015

Међувладин комитет за заштиту нематеријалног културног наслеђа УНЕСКО-а, на свом редовном деветом заседању одржаном од 24. до 28. новембра 2014. године у седишту УНЕСКО-а у Паризу, донео је Одлуку о упису "Породичне славе", као првог уписа из Републике Срије на УНЕСКО-ву Репрезентативну листу нематеријалног културног наслеђа чове- чанства.

Управління ризиками у сфері захисту музейних колекцій

Author(s): Victor Karpov / Language(s): Ukrainian / Issue: 3/2017

The purpose of the study is to identify the algorithm of action of museum institutions and executive authorities in the field of culture aimed at avoiding risks and protection of museum collections from negative influences of internal and external threats. Research methods. The basis of the choice of methods of study were the principles of systematic and integrated approach to studying the scientific problem. The research involves using the method of documentary analysis, synthesis and comparison, which allows to trace the legal mechanism of the development of conceptual model and the sequence of tasks for the protection of museum collections. Using these research methods has contributed to the obtaining of the theoretical results. The scientific novelty of the obtained results consists in the formulation and development of the actual topic,which in the scientific dimension did not receive comprehensive and objective coverage. The idea is that the protection of museum collections involves preparation and implementation of complex measures aimed at regulating the man-made and natural safety of the museum, monitoring and assessing risks and early response to threatened events in order to prevent irreparable harm to cultural values, kept in museum collections. Conclusions. The museum is part of the nationwide system for responding to external and internal threats and is one of the institutions of the object division of the territorial subsystem. The organization of risk management measures in the field of protection of museum collections depends on the number of employees and visitors. The activities concerning the protection of museum collections are divided into stages of daily operation, increased readiness for emergence of threats and state of emergency and martial law. It is stated that the integrated approach to addressing the issue of risk management makes it possible to secure museum collections from the risks of internal and external threats.

УТИЦАЈ КУЛТУРНЕ КОГНИТИВНОСТИ НА КОНЦЕПТ ВРЕДНОСТИ МУЗЕЈСКОГ ПРЕДМЕТА - Од антропологије времена ка савременој музеологији -

Author(s): Aleksandra Momčilović / Language(s): Serbian / Issue: 2/2008

In this paper, museum artifacts are taken as a point of intersection between concepts of continuity and identity formation. The metaphoric and metonymic symbolism of the artifact were interpreted in the context of perception of time, taken to be the cognitive background of the perceived value of the artifact. Having in mind that museums are institutions dedicated to preserve and promote cultural identity, it was necessary to build a connection between cognitivity and contemporary concepts of museology. Theoretical starting points were structuralism and semiotic analysis. The approach is deductive and comparative, starting from the anthropology of time, over issues in museology, to the introduction of a cognitivist perspective. The character of the study is hypothetical, with the goal of being applied in museology.